I f i does not host the plastic/metalic Asahi Kasei Microdevices sound i probably will buy one to.

Do you mean that you don't like AKM CODECs? Surely they're very good... DJ
--

Yes ,as good as the sound that comes out of your PC soundcard..

Burr Brown sounds much 'analog','warmer'

That's a very sweeping statement. AKM makes CODECs for hi-fi and professional audio, just like Burr Brown (who is now TI), Crystal (who is now Cirrus), Analog Devices and others. They're just as good as the others good ones. I have two soundcards here with reasonable AKM converters that have very good sound (M-Audio). All manufacturers have cheaper CODECs too, but even they sound better than high end stuff of a few years ago. There's nothing wrong with AKM at all - I just dropped by their site and they look to be in good shape (high performance AKM CODECs here).

I have RME soundcards and the sound sucks same like your M-audio mate.

we don't need a 'hi-end' or hi-fi sound,we need a pleasant sound. like that comes out of a TC2290,synclavier,roland DM-80 or even an old eventide H3000,ensonic paris,or perhaps the sound of the old acxel I ...,and with an high headroom able input preferable.

its all about the filtering not abouth the codec.

BTW,there is no single 'modern' audio card that can handle acoustic or high dynamic electronic sound sources without compressor or its clipping immediately,and when you add compression you lose dynamic of you source that turns into sound without any 'balls',only a handfull old and very pro units can handle it without.

those new compact convertors are just made with one goal: not quality but to save as much cost possible for gear manufacturers.

In the past they where forced ofcource to R&D on additional filtering but this gave a result in a more musical sound that is sadly completely disapeared in all gear since mid 90ties

Well, the price difference is more like $1800 (PCI card version of Acxel) and then you do get the hardware. Not that you can really compare the two... Even the stand alone Rack versions can be had from $2950, and then you get not only the synth and audio hardware, but a host system as well. In my book the Acxel is quite attractively priced.

but...,i wander what u expect from the acxel then controlwise speaking

I hope to be able to edit the relationship/ratio between the fundamental frequency and upper partials of a sound.
Example: instead of having ratios 1:1, 2:1, 3:1, 4:1 etc.be able to shift those ratios to something like 1:1, 2.1:1, 3.2:1, 4.3:1 etc
you may ask why. read this:

Quote:

William Sethares (2004) wrote that just intonation and the western equal tempered scale derive from the harmonic spectra/timbre of most western instruments. Similarly the specific inharmonic timbre of Thai metallophones would produce the seven-tone near-equal temperament they do indeed employ. The five-note sometimes near-equal tempered slendro scale provides the most consonance in the combination of the inharmonic spectra of Balinese metallophones with harmonic instruments such as the stringed rebab.

I hope to be able to edit the relationship/ratio between the fundamental frequency and upper partials of a sound.
Example: instead of having ratios 1:1, 2:1, 3:1, 4:1 etc.be able to shift those ratios to something like 1:1, 2.1:1, 3.2:1, 4.3:1 etc
you may ask why. read this:

Quote:

William Sethares (2004) wrote that just intonation and the western equal tempered scale derive from the harmonic spectra/timbre of most western instruments. Similarly the specific inharmonic timbre of Thai metallophones would produce the seven-tone near-equal temperament they do indeed employ. The five-note sometimes near-equal tempered slendro scale provides the most consonance in the combination of the inharmonic spectra of Balinese metallophones with harmonic instruments such as the stringed rebab.

I hope to be able to edit the relationship/ratio between the fundamental frequency and upper partials of a sound.
Example: instead of having ratios 1:1, 2:1, 3:1, 4:1 etc.be able to shift those ratios to something like 1:1, 2.1:1, 3.2:1, 4.3:1 etc

My main musical interest is music outside of 12 tone equal temperament (the usual Western tuning system) and I would like to investigate the relationships between timbre and tuning.

Hi Seraph
When you look at the acxel2 documentation you see no direct reference to partials. The reason is that on raw analysis results it is too much information to manage and control and if you go down into the continuous spectra you have no simple way to access the significant elements.
This is why in the acxel2 (and the original too) the structure is oriented on the synthesis machine with oscillators having each amplitudes and frequencies evolving in time.
To express the amplitude - frequency information, you get 2 complementary representations:
4 Spectra:
Amplitude - giving the maximum amplitude and range of variation of envelope of each oscillator.
Frequency Center (Integer) - giving the base relative frequency of each oscillator, integer part.
Frequency Center (decimal) - giving the base relative frequency of each oscillator, decimal part.
Frequency Variation - giving the range of variation of envelope for each oscillator.
2 Envelopes
Amplitude: relative variation of amplitude within the defined range (spectrum) for each oscillator.
Frequency: relative variation of amplitude within the defined range (spectra Center & variation) for each oscillator.

If you want simply to control the frequency of a named oscillator (each representing an harmonic) you will change the corresponding vertical line in the frequency center spectrum, to change its center frequency.

This change is independent to each oscillator

You can make change in the timbre, in a STATIC manner. OR decide to assign a DYNAMIC control on this change (eg: MIDI).
Each spectrum and envelope has its double counterpart, corresponding to the specified control (in real time of course).

Then you can decide the way you want to define frequency relationship between the oscillators (harmonics in resynthesis), the spectrum frequency center correspond to harmonic number of each cell (Integer and decimal part of harmonic number). In this domain the frequency are relative to the note played.

BTW the operation that are accessible to frequency elements (harmonics) can be expressed to the whole Pitch and the temperament being changed._________________Acxel 2 and original Acxel inventor
CTO - President Idarca-Audio
www.acxel2.com

For information
The converters currently used within the Acxel2 are TI/BurrBrown stuff.
FOr other models/extensions we evaluated Analog device ADAU Codecs_________________Acxel 2 and original Acxel inventor
CTO - President Idarca-Audio
www.acxel2.com

Then you can decide the way you want to define frequency relationship between the oscillators (harmonics in resynthesis), the spectrum frequency center correspond to harmonic number of each cell (Integer and decimal part of harmonic number). In this domain the frequency are relative to the note played.

Of course what I said about the frequency domain is also accessible for Oscillators - Amplitudes, Phases, Filter and Waveform. Using Spectra / Envelope combinations on these parameters._________________Acxel 2 and original Acxel inventor
CTO - President Idarca-Audio
www.acxel2.com

but...,i wander what u expect from the acxel then controlwise speaking

I hope to be able to edit the relationship/ratio between the fundamental frequency and upper partials of a sound.
Example: instead of having ratios 1:1, 2:1, 3:1, 4:1 etc.be able to shift those ratios to something like 1:1, 2.1:1, 3.2:1, 4.3:1 etc

Carlo, you can do that with Alchemy and you can even shift the partials around in real time.

On the Acxel2 everything is in real time indeed.
If you wish to control 1000 frequency elements in real time this will not limit the control on phases, amplitudes, filtering, waveforms, elements modulations, and also apply dependencies between those elements (eg: amplitude vs frequencies - grouped within a slope to process harmonic filtering-resonnances), links between the elements, control from external signals, etc..
And Real time resynthesis, in other words to analyse-regenerate-modify sounds in real time.
And emulate other synthesis modes or combine them._________________Acxel 2 and original Acxel inventor
CTO - President Idarca-Audio
www.acxel2.com

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